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Get Kindle ^ the Modern Lovers the Modern Lovers (Paperback)
9UMSJOTBQF7Y « PDF ^ The Modern Lovers The Modern Lovers (Paperback) Th e Modern Lovers Th e Modern Lovers (Paperback) Filesize: 2.82 MB Reviews Completely among the finest publication I have got possibly read through. It really is rally exciting throgh reading through period. You are going to like how the writer compose this publication. (Modesta Stamm PhD) DISCLAIMER | DMCA 1DRVATHPTF9Y ~ Doc \\ The Modern Lovers The Modern Lovers (Paperback) THE MODERN LOVERS THE MODERN LOVERS (PAPERBACK) Bloomsbury Publishing PLC, United States, 2017. Paperback. Condition: New. Language: English . Brand New Book. From the War on Hippies to the Great Rock n Roll Swindle, the story of Modern Lovers is a high octane tale of Brutalist architecture, rock n roll ambition and the struggle for identity in a changing world. One of punk rock s foundational documents, the archetype for indie obsession and all but disowned by its author, The Modern Lovers was an album doomed by its own coolness from day one. Powered by the two-chord wonder Roadrunner and its proclamation that I m in love with rock n roll, The Modern Lovers is the essential document of American alienation, an escape route from the cultural wasteland of postwar suburbia. The Modern Lovers is the bridge connecting the Velvet Underground and the Sex Pistols; they were peers of the New York Dolls and friends with Gram Parsons and they would splinter into Talking Heads, The Cars, and The Real Kids. But The Modern Lovers was never meant to be an album. A collection of demos, recorded in fits and starts as Jonathan Richman and his band negotiate modernity and the music industry. -
A Geezer Remembers South by Southwest
• personals • promotions • best of austin • find a paper keyword HOME NEWS ARTS BOOKS FOOD SCREENS MUSIC CALENDAR CITY GUIDE CLASSIF A Geezer Remembers South by Southwest By noon Thursday, the gray skies were gone, and the click to enlarge air carried a hint of spring. In the parking lot next to Trophy’s, there was a rudimentary stage and sound system, and it seemed like 1940 all of a sudden. The Get Up Johns had driven from St. Paul, Minn.; this was their only gig of the weekend, and they were making the most of their 30 minutes. With an acoustic guitar, mandolin, fiddle, and brotherly harmonies, Josh Wenck and Jake Hyer recalled the Louvins, Stanleys, and Delmores with a youthful skill that exuded reverence. They supposedly garnered an opening slot on an upcoming Carrie Rodriguez tour from this appearance, so maybe the long haul down I- 35 was worth it. Stopping by the Twangfest party at Jovita’s early Gary Lucas Saturday afternoon, I was expecting an acoustic set from Columbus, Ohio’s Two Cow Garage, but the quintet was in full blare mode. It all came into focus when they asked for requests. Someone blurted out “Stranglehold,” and off they went into a guitar ramble that would have made the Nuge proud. While everyone else was enjoying the Stooges late Saturday night, I decided to go to church. The Central Presbyterian Church on Eighth Street was an official venue, but I don’t think it had been totally prepared for Gary Lucas. First, the New York City guitarist provided a stunning solo live soundtrack to the 1920 silent film Der Golem, a German horror classic. -
Jonathan Richman En Cinco Claves VÍCTOR LENORE
MINERVA_52-56.qxd 24/1/07 00:47 Página 52 52 MINERVA 4.07 El pasado 27 de octubre, dentro del ciclo Cabaret Círculo, actuó en el CBA Jonathan Richman, el cantautor más simpático de la historia. Richman comenzó su ya larga andadura en el mundo del espectáculo a principios de los años setenta, con el grupo The Modern Lovers, considerados precursores del punk rock. Con el tiempo, Richman se ha ido desplazando hacia un sonido más sosegado, que recoge influencias de muy diversos ámbitos y las combina en un estilo profundamente personal. El periodista musical Víctor Lenore nos ayuda a descifrar su enigmático perfil en cinco claves. Jonathan Richman en cinco claves VÍCTOR LENORE FOTOGRAFÍA LUIS ASÍN Arranque con The Modern Lovers Su primer grupo nació a comienzos de los setenta en Massachusetts (Estados Unidos). Se les considera pioneros de casi todo: desde el punk a la nueva ola, pasando por el indie. Canciones básicas y sus- tanciosas sobre la vida cotidiana de adolescentes revoltosos. Su único álbum propiamente dicho, The Modern Lovers (1976), es una colección de maquetas producidas por John Cale (miembro de la Velvet Underground, grupo preferido de Richman). La «Enciclo- pedia Spin del rock alternativo» define este disco como «uno de los mejores momentos del punk estadounidense: el grupo de Bos- ton conducía la agresión guitarrera de los Stones y Stooges a nue- vas perspectivas emocionales. Capturaron la energía ambivalen- te de unos chicos dulces de barrio residencial en pleno proceso de enamorarse del sonido del centro de la ciudad». Muchas veces se le echa en cara a Richman el olvido de estas pri- meras canciones en sus conciertos. -
Conclusion: Popular Music, Aesthetic Value, and Materiality
CONCLUSION: POPULAR MUSIC, AESTHETIC VALUE, AND MATERIALITY Popular music has been accused of being formulaic, homogeneous, man- ufactured, trite, vulgar, trivial, ephemeral, and so on. These condemna- tions have roots in aspects of the Western aesthetic tradition, especially its modernist and expressivist branches, according to which great art innovates, breaks and re-makes the rules, expresses the artist’s personal vision or unique emotions, or all these. Popular music has its defenders. But they have tended to appeal to the same inherited aesthetic criteria, defending some branches of popular music at the expense of others― valorising its artistic, expressive, innovative, or authentic branches against mere ‘pop’. These evaluations are problematic, because they presuppose all along a set of criteria that are slanted against the popular fi eld. We therefore need new frameworks for the evaluation of popular music. These frameworks need to enable us to evaluate pieces of popular music by the standards proper to this particular cultural form―to judge how well these pieces work as popular music, not how successfully they rise above the popular condition. To devise such frameworks we need an account of popular music’s standard features and of the further organising qualities and typical val- ues to which these features give rise. Popular music normally has four layers of sound―melody, chords, bass, and percussion―and each layer is normally made up of repetitions of short elements, these repeti- tions being aligned temporally with one another, with whole sections of repeated material then being repeated in turn to constitute song sections. © The Author(s) 2016 249 A. -
Talking Heads from Wikipedia, the Free Encyclopedia
Talking Heads From Wikipedia, the free encyclopedia Background information Origin New York City, New York, United States Genres New wave · post-punk · art pop · funk rock · worldbeat Years active 1975–1991 Labels Sire/Warner Bros., EMI Associated acts Tom Tom Club, The Modern Lovers, Brian Eno Past members David Byrne Chris Frantz Tina Weymouth Jerry Harrison Talking Heads were an American rock band formed in 1975 in New York City and active until 1991. The band comprised David Byrne (lead vocals, guitar), Chris Frantz (drums), Tina Weymouth (bass) and Jerry Harrison (keyboards, guitar). Other musicians also regularly made appearances in concert and on the group's albums. The new wave style of Talking Heads combined elements of punk, art rock, funk, avant-garde, dance, pop, and world music with the neurotic, whimsical stage persona of frontman and songwriter David Byrne. The band made use of various performance and multimedia projects throughout its career. Critic Stephen Thomas Erlewine described Talking Heads as being "one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits." In 2002, the band was inducted into the Rock and Roll Hall of Fame. Four of the band's albums appeared on Rolling Stone's list of the 500 Greatest Albums of All Time and three of their songs ("Psycho Killer", "Life During Wartime", and "Once in a Lifetime") were included among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Talking Heads were also included at #64 on VH1's list of the "100 Greatest Artists of All Time", placed among Rolling Stone 's similar list as well. -
Jerry Harrison Bio Tuesday, 03 June 2008 15:28
Jerry Harrison Bio Tuesday, 03 June 2008 15:28 Jeremiah Griffin Harrison was born on 21 February 1949 in Milwaukee, Wisconsin. He has a long history of playing in bands, beginning at High School in Milwaukee with a group called The Walkers. Jerry graduated and moved east to attend Harvard University. There he formed a band called Albatross, in September 1967. They were all students and did some original numbers, through mostly they relied on Steve Miller and Jimi Herdrix songs. The band, with Ernie Brooks playing bass, lasted two years, playing at parties and college dances in the Boston/Cambridge area. It folded in May 1969, when college broke up for the summer, but singer Jim Mahoney and Ernie Brooks went on to form Catfish Black with a number of other musicians. This band lasted from July '69 to July '70. The next move was for Ernie Brooks and Jerry Harrison to re-unite, which they did in September 1970, to form a band called The Eagles. They lasted two months, finally splitting in November 1970. Still in the Boston area, Jerry and Ernie ran into a guy named Jonathan Richman at a party and Richman began a lengthy campaign for them to join a band with him. It was to be called The Modern Lovers. In the spring of 1972, they found themselves out in Los Angeles recording a demo for Warner Brothers with John Cale producing it. After a number of legal complexities, this set of demos was released in 1976 on Beserkley records, long after Jerry had left the Modern Lovers. -
Modern Lovers Free Ebook
FREEMODERN LOVERS EBOOK Emma Straub | 368 pages | 01 Jun 2016 | Penguin Books Ltd | 9781405921572 | English | London, United Kingdom The Modern Lovers - Wikipedia While the sound is in debt to the primal three-chord pounding of early Velvet Undergroundthe attitude of Jonathan Richman and the Modern Lovers is a million miles away from Lou Reed 's jaded urban nightmares. He's still a teenager at heart, which means he's not only in love with girls he can't have, but also radios, suburbs, and fast food, and it also means he'll crack jokes like "Pablo Picasso was never called an asshole But beneath his adolescent posturing, Richman Modern Lovers also nakedly emotional, pleading for a lover on "Someone I Care About" and "Girl Friend," or romanticizing the future on "Dignified and Old. More importantly, the music is just as raw and exciting now as when it was recorded inor when it was belatedly released in AllMusic relies heavily on JavaScript. Please enable JavaScript in your browser to Modern Lovers the site fully. Blues Classical Country. Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Modern Lovers Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Modern Lovers. Features Interviews Lists. Streams Videos All Posts. Track Listing. Modern Lovers Richman. The Modern Lovers. Astral Plane. Old World. Pablo Picasso. I'm Straight. Dignified and Old. She Cracked. Someone I Care Modern Lovers. Girl Friend. Modern World. Government Center. Modern Lovers Jonathan Richman. -
Jonathan Richman En Cinco Claves VÍCTOR LENORE
MINERVA_52-56.qxd 24/1/07 00:47 Página 52 52 MINERVA 4.07 El pasado 27 de octubre, dentro del ciclo Cabaret Círculo, actuó en el CBA Jonathan Richman, el cantautor más simpático de la historia. Richman comenzó su ya larga andadura en el mundo del espectáculo a principios de los años setenta, con el grupo The Modern Lovers, considerados precursores del punk rock. Con el tiempo, Richman se ha ido desplazando hacia un sonido más sosegado, que recoge influencias de muy diversos ámbitos y las combina en un estilo profundamente personal. El periodista musical Víctor Lenore nos ayuda a descifrar su enigmático perfil en cinco claves. Jonathan Richman en cinco claves VÍCTOR LENORE FOTOGRAFÍA LUIS ASÍN Arranque con The Modern Lovers Su primer grupo nació a comienzos de los setenta en Massachusetts (Estados Unidos). Se les considera pioneros de casi todo: desde el punk a la nueva ola, pasando por el indie. Canciones básicas y sus- tanciosas sobre la vida cotidiana de adolescentes revoltosos. Su único álbum propiamente dicho, The Modern Lovers (1976), es una colección de maquetas producidas por John Cale (miembro de la Velvet Underground, grupo preferido de Richman). La «Enciclo- pedia Spin del rock alternativo» define este disco como «uno de los mejores momentos del punk estadounidense: el grupo de Bos- ton conducía la agresión guitarrera de los Stones y Stooges a nue- vas perspectivas emocionales. Capturaron la energía ambivalen- te de unos chicos dulces de barrio residencial en pleno proceso de enamorarse del sonido del centro de la ciudad». Muchas veces se le echa en cara a Richman el olvido de estas pri- meras canciones en sus conciertos. -
Songs About U.S. Cities
Songs about U.S. Cities Here’s the 30-page list I compiled from Wikipedia: Abilene Abilene by George Hamilton IV Akron My City Was Gone by The Pretenders Downtown (Akron) by The Pretenders Albuquerque Albuquerque by Weird Al Yankovic Point Me in the Direction of Albuquerque by Tony Romeo Albuquerque by Neil Young Albuquerque by Sons of the Desert Bring Em Out by T.I. The Promised Land Chuck Berry Space Between Us Sister Hazel By the Time I Get to Phoenix Frank Sinatra, Dean Martin, Roger Miller Train Kept A Rollin' Stray Cats Wanted Man Johnny Cash, Bob Dylan, Nick Cave Blue Bedroom Toby Keith Get Your Kicks on Route 66 Perry Como Cowboy Movie David Crosby Make it Clap Busta Rhymes Allentown Allentown by Billy Joel Allentown Jail by Kingston Trio Amarillo Is This the Way to Amarillo by Neil Sedaka and Howard Greenfield Amarillo by Morning by George Strait If Hollywood Don't Need You (Honey I Still Do) by Don Williams Amarillo Sky by Jason Aldean Anchorage Anchorage by Michelle Shocked Atlanta ATL alt. rock song by Butch Walker, from Sycamore Meadows 2008 Atlanta Lady by Marty Balin (of Jefferson Airplane) Atlanta by Stone Temple Pilots, from No. 4 1999 Atlanta Burned Again Last Night by country group Atlanta, from Pictures 1983 Bad Education by Tilly and the Wall 2006 Badstreet U.S.A by Michael Hayes (wrestler) 1987 Communicating Doors by The Extra Lens (From Undercard, 2010) Hot 'Lanta (instrumental) by The Allman Brothers, from At Fillmore East 1971 F.I.L.A (Forever I Love Atlanta) by Lil Scrappy feat. -
Brighton Ukulele Sundays 1St Songbook
NEW Songbook # II for 2009! Brighton Ukulele Sundays Songbook II Ain’t She Sweet……………………… 10 I Wanna Be Like You..…………... 4 Build Me Up Buttercup……...………. 23 L-O-V-E …........…………………... 21 Dance Tonight………………….……. 7 Man Of Constant Sorrow………… 14 Everybody Move It………………….. 13 Mary Lou’s Pies…………………… 15 Eye Of The Tiger…………………….. 18 Mister Sandman…………………... 6 Fisherman’s Blues…………………… 11 Proud Mary………………………... 29 Folsom Prison Blues………………… 30 Psycho Killer………………………. 8 Freight Train………………………….. 27 Roadrunner…….………………….. 2-3 Here Comes The Sun……………….. 5 Sloop John B……………...………. 16 Heroes………………………………… 28 Sweet Georgia Brown……………. 12 Hey Good Lookin’……………………. 9 Trail Of The Lonesome Pine…….. 22 Hey Ya ………………................…… 24 Ukulele Lady…………...…………. 17 I Am The Resurrection……………… 20 Yes Sir, That’s My Baby………..... 1 Imagine………………………………... 26 You Ain’t Going Nowhere…...…… 19 Brighton Ukulele Sundays – Songbook Yes Sir, That’s My Baby by Walter Donaldson & Gus Khan, 1925 [C]Yes, Sir, That's my Baby, [G]No, Sir, Don't mean "Maybe" [G7]Yes, Sir, That's my Baby [C]now. [C7] [C]Yes ma'am, we've decided, [G]No ma'am, we won't hide it, [G7]Yes, ma'am, you're invited [C]now. By the [C7]way, By the [F]way, When we [D7]reach the preacher I'll [G7]say (with feeling) [C]Yes Sir, That's my Baby, [G]No, Sir, don't mean "maybe", [G7]Yes Sir, That's my Baby [C]now. [C7] [C] / / / / [G] / / / / [G7] / / / / [C] / / [C7] / / [C]Well well, "lookit" that baby, [G]Do tell, don't say "maybe", [G7]Hell's bells, won't she cause some [C] row? Pretty [C7]soon, Pretty [F]soon, We will [D7]hear that Lohengrin [G7]tune, (I'm sayin') [C]Who for should she be sir, [G]No one else but me sir, [G7]Yes sir, That's my Baby [C]now. -
RITUAL UNION Reviewed Plus: All Your Oxford Music News, Reviews and Previews, Plus Seven Pages of Local Gigs for November
[email protected] @NightshiftMag NightshiftMag nightshiftmag.co.uk Free every month NIGHTSHIFT Issue 280 November Oxford’s Music Magazine 2018 “We“We areare thethe definitiondefinition ofof BritishBritish reservereserve whenwhen itit comescomes toto anger.anger. WeWe probablyprobably dodo releaserelease aa fairfair bitbit photo: Helen Messenger throughthrough ourour music.”music.” SELFCultural exchanges, terrible tattoos HELP and dancing round the kitchen with Oxford’s pop punk stars. Also in this issue: Introducing WORRY SAVE THE CELLAR - fundraising campaign launched RITUAL UNION reviewed plus: All your Oxford music news, reviews and previews, plus seven pages of local gigs for November. NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshiftmag.co.uk SUPERNORMAL FESTIVAL returns in 2019. The three-day celebration of leftfield and underground music and art takes place at Braziers Park in Ipsden RADIOHEAD’S PHIL SELWAY, RIDE’S MARK GARDENER over the weekend of the 2nd-4th and Gaz Coombes are among the musicians who have recorded August. The festival took a year messages of support for the Save The Cellar fundraising campaign, th off this year, organisers citing the which is officially launched on the 25 October. workload involved for what is a The local stars are among a host of artists rallying behind the photo by Helen Messenger group of volunteers. campaign as the venue fights for its survival in the wake of having its Regularly quoted as the best fire capacity slashed after its stairway was deemed 30cm too narrow. -
Indie Mixtape 20 Q&A Is with Samia, Who Has Her Grandmother's Handwriting Tattooed on Her Hip
:: View email as a web page :: In a recent episode of Indiecast, we talked about how Arcade Fire’s 2010 landmark album The Suburbs helped to mark the end of the aughts. In our latest episode, we pick up this thread to talk about one of the most momentous years in recent indie history, 2013, which in many ways feels like the beginning of the 2010s. At the time, there was a long-running movement to make pop influences more acceptable in indie music. In 2013, however, there was a decisive shift beyond “acceptable” to making indie music rooted in the principles of pop THE standard for “innovative” or “forward-thinking” or simply “hip” indie music. The aesthetics of an album like The Monitor or Celebration Rock — rooted in more classic ideas about indie music being guitar-centric, aggressive, gritty, somewhat poorly recorded, and derived from punk — would be placed firmly outside the mainstream of what was praised in the press or put at the center of indie. Check out our conversation and subscribe to Indiecast here. -- Steven Hyden, Uproxx Cultural Critic and author of This Isn't Happening:Radiohead's "Kid A" And the Beginning Of The 21st Century In case you missed it... We just added a handful of new videos from Echo & The Bunnymen to our YouTube channel. The new episode of Indiecast talks The 1975, Lorde, Haim, and more 2013 debuts. Dave Grohl accepted a challenge to a drum battle from viral 10-year-old sensation Nandi Bushell and asked her to match his performance of a Them Crooked Vultures track.